Bach: Cantata No. 205 “Zerreißet, zersprenget, zertrümmert die Gruft” / Masaaki Suzuki, Bach Collegium Japan

Bach’s secular cantatas are about one tenth the number of church cantatas. However, am I the only one who feels that the secular cantatas have richer content than the church cantatas? For example, Bach makes full use of parody techniques in church cantatas (in choruses and arias). In such cases, the original is a secular cantata or an instrumental piece. But the opposite was not true.

When I think about the reason, the following comes to mind.

As the Thomas Cantor, composing church cantatas was Bach’s duties. That means that the salary he was paid was in return for the continuous supply of cantatas for weekly worship services. Therefore, he was able to cut corners to a certain extent. In other words, he frequently borrowed from secular cantatas that he had composed on other occasions.

On the other hand, secular cantatas were not part of his regular duties, at least in Leipzig. They were “occasional work” for city festivals and public concerts in coffee houses. More importantly, they were well paid. Considering all of this, secular cantatas were more motivating for Bach than church cantatas. As a result, secular cantatas inevitably had high quality content.

In addition, in secular cantatas, Bach was free to use “female sopranos” that he could not normally use. Needless to say, their technique was superior to that of boys. He was also able to use an excellent orchestra called the Collegium Musicum, which was formed by students at the University of Leipzig.

Furthermore, it seems that the period for composing these works was longer than that for church cantatas. This allowed for ample time for polishing the work and for experimenting with orchestrations in both the arias and the choruses.

For these reasons, Bach’s secular cantatas are thought to be of higher quality than his church cantatas.

This piece is based on a text by Picander, which takes its subject from Greek mythology. Students at the University of Leipzig commissioned Bach to compose the music as a gift for their teacher, law professor August Friedrich Müller. The piece is said to have been performed on the evening of August 3, 1725, in front of the professor’s house at Katharinastrasse 2 in Leipzig. The characters are as follows:

Pallas (Athena, goddess of wisdom) – Soprano

Pomona (goddess of fruit) – Alto

Zephyrus (god of the west wind) – Tenor

Aeolus (god of wind) – Bass

The outer movements are choral, with seven recitatives and six arias in between. This is a large-scale work consisting of 15 movements in total, with three trumpets, timpani, two horns, two flutes, two oboes, string ensemble and basso continuo. Bach has composed no other cantatas that use three trumpets and two horns at the same time.

This full choral piece, “Zerreißet, zersprenget, zertrümmert die Gruft”, is sung to the raging “wind figure” played by flutes, oboes and strings. In Masaaki Suzuki’s performance, the choral parts are performed by multiple people.

Following the recitative by Aeolus (bass), which uses the same instrumental arrangement including timpani, the first aria “Wie will ich lustig lachen” is sung by the bass, accompanied by the unison of Oboe I and Violin I, and string ensemble. This is a joyful aria that makes your heart dance, with a “laughing figure” heard from the opening ritornello.

Following the recitative by Zephyrus (tenor), the tenor aria “Frische Schatten, meine Freude” is sung. Of particular note is the accompanying instruments, which use the viola d’amore and viola da gamba, string instruments with a tasteful tone like “old silverware”. This is a moving aria with melancholy sequences that will bring you to tears.

Following the recitative by Aeolus (bass) is the aria “Können nicht die roten Wangen” by Pomona (alto). It is an impressive aria in which the oboe d’amore and alto melodies beautifully intertwine.

Following the duet recitative by Pallas (soprano) and Pomona (alto), Pallas (soprano) sings the aria “Angenehmer Zephyrus” with a light solo violin obbligato. It is a soul-cleansing aria.

After the duet recitative accompagnato by Pallas (soprano) and Aeolus (bass) is sung to the accompaniment of two flutes, Aeolus (bass) sings the aria “Zurücke, zurücke, geflügelten Winde” to the accompaniment of three trumpets, timpani, and two horns.

Following the arioso and recitative by Pallas (soprano), Pomona (alto) and Zephyrus (tenor), the duet aria “Zweig und Äste” by Pomona (alto) and Zephyrus (tenor) is sung in unison on two flute traversos, a “lavish” instrument arrangement unique to Bach.

Following the recitative by Pallas (soprano), the final chorus “Vivat August” is sung magnificently by all the members, and the cantata ends. #baroque #bach #cantata #片山俊幸 https://excelkobo.net/bachwerke/archive/BWV0205.pdf